The three symphonies on this CD all have an American connection. They were composed over the span of 15 years, during the heart of Stravinsky’s ‘neo-Classical’ period. During that time he reacted against the emotional excesses of the Romantic era and his own early ballet successes, now that the use of a large orchestra was no longer financially tenable. World War One had forced Stravinsky to economize because musicians were no longer readily available. Those that were to be found often played a random assortment of instruments, forcing Stravinsky to compose for unusual combinations. The unique sonorities that Stravinsky routinely created during the years immediately following 1914 were usually the result of wartime necessity. During the latter years of his ‘neo-Classical’ period Stravinsky developed a mature response to the music of the past. The Classical symphony had an especially strong tradition as the central instrumental genre of the era, with the towering figures of Haydn, Mozart and Beethoven an imposing trio to say the least.
When Serge Koussevitzky commissioned Stravinsky to write a symphony to mark the 50th anniversary season of the Boston Symphony Orchestra in 1930-31, it is safe to assume that he expected something from within that tradition. He did not expect Stravinsky to compose a choral work with strong religous connotations. Stravinsky had been moving in the direction of sacred music for several years so it probably should not have come as a surprise. But when Stravinsky labeled his latin-language psalm settings as a Symphony of Psalms, he was merely matching the nature of his commission and stretching the point to do so. The work has nothing to do with the Classical symphony – it is a thoroughly choral piece. Its uniquely austere sonorities are the result of the absence of clarinets, violins or violas, and the presence of two pianos. The Berlin Philharmonic under Sir Simon Rattle along with the voices of the Rundfunkchor emphasize those sonorities, discovering great beauty in their spareness, darkness and warmth. This is one of the great masterpieces of the 20th century and it is given a reading commensurate with its status.
The Symphony in C was commissioned in 1937 for the New York Philharmonic but personal tragedy in the Stravinsky family and the onset of the Second World War delayed its premiere until 1940, when it was performed by the Chicago Symphony Orchestra. The work is written on a large – almost a Beethovenian – scale. The choice of C Major as the key creates a traditional sense of symphonic triumph, but Stravinsky uses it in combination with some Russian flavored folk song melodies, giving the symphony an ambiguous character. It has the usual four movement structure and the orchestra is a conventional one. The juxtaposition of traditional elements with some unusual melodic ones gives this symphony a unique flavor, something emphasized in this performance. It is an energetic and sonically rich reading, with lovely playing from the horns and woodwinds that is beautifully captured by EMI’s engineers.
The Symphony in Three Movements was commissioned by the New York Philharmonic as a Victory Symphony of sorts at the end of the war and had its premiere in January 1946 in Carnegie Hall. Stravinsky later claimed to have recycled the three movements of the piece respectively from a proposed concerto for orchestra, the film score for the Song of Bernadette and from the music for a post-Hiroshima ‘war plot’. By prominently using the harp as well as elements of the ballet in his choice of brisk, energetic tempos, there are flashes of The Rite of Spring and Les Noces in this symphony. Beauty and a propulsive energy are united in this brilliant performance by the Berlin Philharmonic. The especially rich and deep sonics give this performance a strong backbone that makes it one of the the most memorable performances of the Symphony I’ve yet heard. Sir Simon conducts with an eye towards perfection in sound and a powerful interpretation, placing the three Stravinsky works firmly in the tradition for grandeur that the symphony has historically possessed. EMI’s engineers have created the brilliant sound that allows him to pull off his recording hat trick. If you’re a fan of Stravinsky, this CD will probably grab you quickly. Highly recommended.
– – Mike Birman
